Last Passenger

Omid Nooshin, 2014

Can I Stream it?

2/5

Lewis Shaler (Dougray Scott) is on traveling with his son Max (Joshua Kaynama) on a commuter train in London when a hijacker takes control and compromises their trip.

Last Passenger has something going for it for during the first half to three quarters of the film. At the beginning of the story you sit on the train with several strangers. There are the quintessential loud folk, talking and shouting. There is the drunk guy who won't put out his cigarette. There is the silent older guy. Quite typical characters. But things zero in on Lewis, his son Max and pretty woman Sarah (Kara Tointon) early. They strike up conversation with each other, Sarah obviously impressed with the fact that Lewis is a doctor on his way to the hospital. If you are aware of the plot going into the film, as you likely are, you are looking at everyone around them as potential villains. Maybe that silent old guy is going to slip away. Maybe that drunk guy with the cigarette is going to get himself worked up, and make an impulsive decision to take over the train in outrage. Or maybe they are just red herrings. The mystery element is enough to get the story moving and get you engaged. And as Lewis goes on to have the best (if accidental) first date ever with beautiful Sarah, the conflict soon begins.

What transpires is a Speed-like action thriller, but without the charm. To it's credit, the film builds on some characters that you grow to appreciate, but (unable to avoid the obvious pun) it doesn't even go off the tracks at the end. That would involve more action than what you get, and at that point in the film you are hungry for it. Instead, it's an anti-climactic conclusion that leaves you wondering if you missed something. But you didn't.

Locke

Steven Knight, 2014

Can I Stream It?

3/5

It's the night before commencement of the biggest construction project of his entire career. Instead of driving home to watch a football match with his son, Ivan Locke (Tom Hardy) suddenly decides to drive away from everything to the shock of his employers and to his family. As he speeds down the highway, his life continues to unravel after each hands-free phone call.

At first glance Locke appears almost as if it's a sleek television commercial for BMW with the typical high-profile celebrity. As if BMW finally gave Tom Hardy an offer he couldn't refuse for a TV spot.  You soon realize that it's something much more compelling. Ivan Locke has made the decision to drive. And the decision to keep driving. Driving away from the much controlled existence that he has long been living in. Driving away from his high-pressure work duties that have long required his presence. Driving away from the familial obligations of watching football with his son and loyalty to his wife. For a good period of time you don't know what the limits of Ivan's conflicts are. The immediate seriousness of the situation gives you the impression that this could easily end in death for him. Does he owe someone money? Is he after someone? What is he hiding? He isn't silent about his personal history as he looks into the rear-view mirror, cursing his long deceased father. Almost as if he sees his father in his own reflection. Ivan has seemingly been an organized person. A man who thrived on strict order. A reliable person. As he keeps his foot pressed against the gas pedal, the reflection of the streetlights glide across the glass. The light constantly shifts from gold blurs to focused glows. A subtle abstract sound echoes in the background. Hardy is a commanding force, bringing a certain intensity to his complex Locke character. He is someone undoubtedly capable of carrying a film on his back.

In terms of construct, the film is actually quite similar to 2010's Buried starring Ryan Reynolds. A real-time limited storytelling piece consisting of one man and a phone. One could argue that Buried is more fierce, more forcible. Albeit undeniably more far-fetched. Perhaps that's the charm of Locke. The ordinary nature of the problems at hand. Ivan is a flawed man like so many in the world. The aftermath of a man who fell victim to his own impulses. But it's not a story of a man completely fleeing his personal shit-storm. He is actually in pursuit of something, some kind of shifting resolution to the mess that he has created. There is a determination to avoid repeating his father's mistakes. But Buried has a more lasting effect on the viewer. That particular story grips you until the very end, whereas Locke maintains a certain pace that carries on until the final moments without much excitement. We often go to cinema to take us to explore the incredible. Perhaps it would have been better if Locke took us on more of a journey with the story.

About Time

Richard Curtis, 2013

Can I Stream It?

4/5

Tim (Domhnall Gleeson) is informed by his father (Bill Nighy) on his 21st birthday that he has inherited the ability to go back in time. He can go back to any moment that he has lived as long as he goes into a dark place, and clinches his fists and thinks about where he wants to go. Constantly feeling disappointed with himself over his inability to find a good girl, he decides to use his special power to find that special someone.

Richard Curtis puts together a heartwarming story that combines time travel with the unlikely romance theme, sort of like if Groundhog Day and Say Anything had a baby. The English backdrop adds a distinct charm to the film, fueled by rich & witty dialogue. It takes the sentimental tone of Curtis' popular Love Actually and makes it much more personal. You are introduced to Tim's fun-loving family very early on in the picture, and when Tim is pulled into the den to be told of his ability by his father, you get a clear sense that they are always having fun with each other. Tim initially assumes he's joking about the multi-generational family secret. He soon finds he is not, and wants to immediately travel back to clear up some social missteps that he had made that have been haunting him ever since. Tim possesses a certain charisma to him, which draws sympathy early on. His early social mishaps are painful to watch (like awkwardly avoiding the kiss at his family's New Years party), especially because he's a genuinely nice guy who simply lacks the moxie. His father asks him what he wants to use his ability for. There's an endless amount of morally questionable things he could do, but he simply wants the girl. He meets Mary (Rachel McAdams), who is insecure yet delightful. McAdams continues to prove that she's one of Hollywood's sweethearts, and really lights up this picture. And so the film plays out like a highlight reel of happiness with instant replay. The ability to correct life's worst moments, and possibly turn them into the greatest. And of course it's flawed; isn't EVERY time travel film flawed in one way or another? You have to let the imperfections go, and that's easy to do with this picture.